"letters and tokens of affection to the prince while he and Claudius watch from afar to evaluate Hamlet's reaction. Hamlet is walking alone in the hall as the King and Polonius await Ophelia's entrance, musing whether ""to be or not to be"". When Ophelia enters and tries to return Hamlet's things, Hamlet accuses her of immodesty and cries ""get thee to a nunnery"", though it is unclear whether this, too, is a show of madness or genuine distress. His reaction convinces Claudius that Hamlet is not mad for love. Shortly thereafter, the court assembles to watch the play Hamlet has"
"To be, or not to be ""To be, or not to be"" is the opening phrase of a soliloquy spoken by Prince Hamlet in the so-called ""nunnery scene"" of William Shakespeare's play ""Hamlet"". Act III, Scene I. In the speech, Hamlet contemplates death and suicide, bemoaning the pain and unfairness of life but acknowledging that the alternative might be worse. This version preserves most of the First Folio text with updated spelling and five common emendations introduced from the Second (""Good"") Quarto (italicized). To be, or not to be, that is the question:<br> Whether 'tis nobler in the mind to"
"du min moder"" was described by the poet and literary historian Oscar Levertin as ""the to-be-or-not-to-be of Swedish literature"". To be, or not to be ""To be, or not to be"" is the opening phrase of a soliloquy spoken by Prince Hamlet in the so-called ""nunnery scene"" of William Shakespeare's play ""Hamlet"". Act III, Scene I. In the speech, Hamlet contemplates death and suicide, bemoaning the pain and unfairness of life but acknowledging that the alternative might be worse. This version preserves most of the First Folio text with updated spelling and five common emendations introduced from the Second (""Good"")"
"Horatio (Hamlet) Horatio is a character in William Shakespeare's tragedy ""Hamlet"". Horatio's origins are unknown, although he was present on the battlefield when Hamlet's father defeated 'the ambitious Norway', Fortinbras (the king), and attended Wittenberg University with Prince Hamlet. Horatio is evidently not directly involved in the intrigue at the Danish court; thus, he makes a good foil or sounding board for Prince Hamlet. He is often not identified as any specific court position, but simply as ""friend to Hamlet."" Horatio is a variation on the Latin name Horatius. Many commentators have pointed out that the name is reminiscent of"
"sinck him to the Center"" (1.2.80–82). Act 1, Scene 3: The Hague: Entrance to the Council Chambers for the Lords of the State<br> The Prince arrives at the Council Chamber. A guard respectfully informs him that the Lords of the State have ordered them to bar his entrance. The Prince's attendants are outraged by this insult and suggest a forcible entry. Exhibiting characteristic cool-headedness and modesty, the Prince urges restraint. Barnavelt enters with his co-conspirators. The Prince asks how he has offended them. In a harsh reply, Barnavelt accuses the Prince of haughtiness. He exits with Leidenberch and Modesbargen. The"
"method in't"") while others have become paraphrased aphorisms (""Clothes make the man""; ""Old friends are the best friends""). Also, the line he speaks when he is killed by Hamlet in Act 3 scene 4 (""O, I am slain!"") has been subject to much parody and ridicule due to its relative obviousness. Polonius Polonius is a character in William Shakespeare's ""Hamlet"". He is chief counsellor of the king, and the father of Laertes and Ophelia. Generally regarded as wrong in every judgment he makes over the course of the play, Polonius is described by William Hazlitt as a ""sincere"" father, but"
"phrase is the best known part of the speech, it and the later sea voyage and pirate attack are central to critical arguments regarding the play. The phrase, and its containing speech, exist in only one of three early printed versions of the play—the second quarto edition, and scholars are divided on whether this is indicative of authorial intent, or a mere artefact of playhouse practicalities. The phrase occurs in ""Hamlet"" Act 3, Scene 4, as a part of one of Hamlet's speeches in the Closet Scene. Hamlet has been acting mad to throw off suspicion that he is aware"
"both of them bursting in tears. Their friends attempted to break into the room to see what the dispute was about and forestall any mischief, but were prevented from doing so by a number of attendants. Favonius, however, was not to be stopped. According to Plutarch, In Shakespeare's version of this encounter in ""Julius Caesar"", Favonius' opening lines in his role as Poet are:<br> POET. [Within] ""Let me go in to see the generals; There is some grudge between 'em, 'tis not meet they be alone."" Forcing his way into Brutus' tent, he addresses Brutus and Cassius:<br> POET. ""For shame,"
"Guildenstern tell the Queen that they will have Hamlet play a leading part in some court theatricals to distract him. Hamlet enters, and she begs them to prevent him from soliloquising. Hamlet begins, ""To be – or not to be,"" but they interrupt him, turning the soliloquy into a trio, and urging him to commit suicide. Hamlet responds: ""It must be patent to the merest dunce/Three persons can't soliloquize at once!"" Ophelia is terrified by the ghosts from ""five thousand plays"" that haunt her father's study, ""chattering forth the scenes [that her] poor father wisely had cut out."" But she"
"""... then worms shall try / That long preserved virginity, / And your quaint honour turn to dust, / And into ashes all my lust"" in ""To His Coy Mistress"" depends on a pun on these two senses of ""quaint"". By Shakespeare's day, the word seems to have become obscene. Although Shakespeare does not use the word explicitly (or with derogatory meaning) in his plays, he still uses wordplay to sneak it in obliquely. In Act III, Scene 2, of ""Hamlet"", as the castle's residents are settling in to watch the play-within-the-play, Hamlet asks his girlfriend Ophelia, ""Lady, shall I"
"a note hidden inside. The Prince enters with William, Bredero, and Vandort (somewhere around this point, the scene shifts to the courtroom proper). The Provost gives him the note. It says: ""You have friends left, and therefore Sir, despair not"" (with an intentional pun on ‘pear’?). Bredero and Vandort say that justice must not be subverted by Barnavelt's supporters. The Prince notes that the entire continent is watching the trial and that it would sully their reputation if they did not act on the clear evidence that has been presented at court. The French ambassadors, Boisise and Morier, enter with"
"in the court of kings. As Shakespeare conceives it, the Fool is a servant and subject to punishment ('Take heed, sirrah – the whip ' 1:4:104) and yet Lear's relationship with his fool is one of friendship and dependency. The Fool acts as a commentator on events and is one of the characters (Kent being the other) who is fearless in speaking the truth. The Fool provides wit in this bleak play and unlike some of Shakespeare's clowns who seem unfunny to us today because their topical jokes no longer make sense, the Fool in King Lear ridicules Lear's actions"
"Phrases from Hamlet in common English William Shakespeare's play ""Hamlet"" has contributed many phrases to common English, from the famous ""To be, or not to be"" to a few less known, but still in everyday English. Also, some occur elsewhere, such as the Bible, or are proverbial. A few, listed out (""Note: all are second quarto except as noted""): Act I, scene 1: Act I, scene 2: Act I, scene 3: Act I, scene 4: Act I, scene 5: Act II, scene 2: ""Caviar to the general"" Hamlet Act 2, scene 2, 431–440 Act III, scene 1: Act III, scene"
"fall of a sparrow. If it be not now, 'tis not to come; if it be not to come, it will be now; if it be not now, yet will it come—the readiness is all."" In the First Quarto, the same line reads: ""There's a predestinate providence in the fall of a sparrow."" Scholars have wondered whether Shakespeare was censored, as the word ""predestined"" appears in this one Quarto of Hamlet, but not in others, and as censoring of plays was far from unusual at the time. Rulers and religious leaders feared that the doctrine of predestination would lead people"
"to others that we know not of.<br> Aye that, O this conscience makes cowards of us all,<br> Lady in thy orizons, be all my sins remembered. The text of the Second Quarto (Q2) is considered the earliest version of the play. In Q2 the whole nunnery scene including 'To be' takes place later in the play than in Q1 where it occurs directly after Claudius and Polonius have planned it and the addition of ""Soft you now"", suggesting that Hamlet has not (or is feigning having not) seen Ophelia thus far during his speech. To be, or not to be,"
"reacts in a grand septet with chorus. ""Closet Scene"" In the Queen's chambers Hamlet delivers the monologue ""To be or not to be"", then hides behind a tapestry. Claudius enters and prays aloud of his remorse. Hamlet, deciding Claudius' soul may be saved, if he is killed while praying, delays yet again. Polonius enters and in his conversation with Claudius reveals his own complicity. The King and Polonius leave, Hamlet emerges, and Gertrude enters with Ophélie. The Queen tries to persuade Hamlet to marry Ophélie, but Hamlet, realizing he can no longer marry the daughter of the guilty Polonius, refuses."
"murdered, including Buckingham. Richard is portrayed as suffering a pang of conscience, but as he speaks he regains his confidence and asserts that he will be evil, if such needed to retain his crown. The fight between the two armies is simulated by rowdy noises made off-stage (""alarums"" or alarms) while actors walk on-stage, deliver their lines, and exit. To build anticipation for the duel, Shakespeare requests more ""alarums"" after Richard's councillor, William Catesby, announces that the king is ""[enacting] more wonders than a man"". Richard punctuates his entrance with the classic line, ""A horse, a horse! My kingdom for"
"apparent ontological paradox by inspiring Shakespeare to borrow phrases that the Doctor quotes from his plays. Examples of this include the Doctor telling Shakespeare that ""all the world's a stage"" (from ""As You Like It"") and ""the play's the thing"" (from ""Hamlet""), as well as the name Sycorax from ""The Tempest"". However, when Shakespeare himself coins the phrase ""To be, or not to be"", the Doctor suggests he write it down, but Shakespeare considers it ""too pretentious"". In a different version of the joke, the Doctor exclaims ""Once more unto the breach"", and Shakespeare initially likes the phrase, before realising"
"tells him that the order not to admit anyone came from Winchester. Dismayed, Gloucester refers to Winchester as ""that haughty prelate,/Whom Henry, our late sovereign, ne're could brook"" (1.3.23–24). Only in Hall is there any indication that Henry V had a problem with Winchester. In Holinshed, there is nothing to suggest any disagreement or conflict between them. Another example of Shakespeare's use of Hall is found when Sir Thomas Gargrave is injured by the artillery strike at Orléans (1.5). In the play, he dies immediately, and the rest of the scene focuses on the death of the more senior soldier"
"way. This division is generally accepted by the scholarly consensus, with some occasional and minor dissent; Edward Engelberg assigned part of Act III, scene ii to Middleton instead of Rowley. Rowley had a habit of writing ""fat clown"" roles for himself to play; Chough, the primary clown in ""A Fair Quarrel"", is a wrestler, and may have been another role Rowley wrote for himself to play. The subject of duelling was highly topical in the period the play originated; duels were becoming much more common in England, and King James's first proclamation against duelling was issued in October 1613. The"
"LADY ANNE: That shall you know hereafter.<br> GLOUCESTER: But shall I live in hope?<br> LADY ANNE: All men, I hope, live so.<br> GLOUCESTER: Vouchsafe to wear this ring.<br> LADY ANNE: To take is not to give. <br> <br> GLOUCESTER: Sweet saint, for charity, be not so curst.<br> LADY ANNE: Foul devil, for God's sake, hence, and trouble us not,<br> In ""Hamlet"", Act III, Scene iv (the Closet scene), Hamlet is confronted by his mother, the queen, about the play (III, ii) which Hamlet rigged to expose his murderous step-uncle. QUEEN: Hamlet, thou hast thy father much offended.<br> HAMLET: Mother, you"
"2: Act III, Scene 4: Act III, Scene 4: Act IV, Scene 4: Act V, Scene 1: Act V, Scene 2: ""Major links:"" ""Minor links:"" Phrases from Hamlet in common English William Shakespeare's play ""Hamlet"" has contributed many phrases to common English, from the famous ""To be, or not to be"" to a few less known, but still in everyday English. Also, some occur elsewhere, such as the Bible, or are proverbial. A few, listed out (""Note: all are second quarto except as noted""): Act I, scene 1: Act I, scene 2: Act I, scene 3: Act I, scene 4:"
"as casually. He expresses mixed feelings about two other characters, the Lion and the Unicorn: amusement at the fact that they are ""fighting for the crown"" even though it is his own crown they are fighting over, but at the same time nervousness when the ""two great creatures"" stand on either side of him. However, given that they, as chesspieces, are protecting him from danger from the red side, there is, as Carroll tells us, ""nothing to be done about it"". His identity as a king in a game of Chess is revealed all the more when he admits that"
"and the characters indulge in rhetorical outbursts. The name ""Benvolio"" means ""good-will"" or ""well-wisher"" or ""Peacemaker"" which is a role he fills, to some degree, as a peace-maker and Romeo's friend. He also wants peace so civil brawls between him and Tybalt can stop but will also do anything for his family even if that means war against the Capulets Benvolio is Lord Montague's nephew and Romeo's cousin. He is usually portrayed by Shakespeare as a kind and thoughtful person who attempts to look out for his cousin. Benvolio tries to lessen Romeo's sentence after attempting to prevent the duels"
"the distrustful Gambetti proposes that he hand over the document during the debut of his opera (a botched ""translation"" of Giuseppe Verdi's ""Un ballo in maschera"") so that he has time to safely deposit the money. Sigerson and Sacker infiltrate the opera, which soon devolves into chaos. Sigerson and Moriarty confront each other backstage and are drawn into a sword fight that corners Sigerson on an outside ledge; at this point, Moriarty explains to Sigerson why he never lived up to his brother's fame: Sherlock was far better at seeing his enemy's moves ""two to three steps ahead"" of when"
"plays were usually expected to follow the advice of Aristotle in his ""Poetics"": that a drama should focus on action, not character. In ""Hamlet"", Shakespeare reverses this so that it is through the soliloquies, not the action, that the audience learns Hamlet's motives and thoughts. The play is full of seeming discontinuities and irregularities of action, except in the ""bad"" quarto. At one point, as in the Gravedigger scene, Hamlet seems resolved to kill Claudius: in the next scene, however, when Claudius appears, he is suddenly tame. Scholars still debate whether these twists are mistakes or intentional additions to add"
"again, and as before the door opens to reveal no one. After the third knock, the doors open to reveal the Green Knight, who rides into the court. The Knight insults Arthur by asking which member of the court is king. Arthur's knights rush to avenge his honour, but the Green Knight rebuffs them. He is not dressed for combat, but offers instead a challenge: he will accept a blow from his axe that will sever his head, on condition that he may inflict an identical blow in a year and a day's time. While the Bishop chants protections from"
"in itself suspicious according to Hibbard: such letters would usually be carried by the most senior member, Hamlet, rather than the two underlings. Thompson and Taylor disagree, as it might simply mean that Rosencrantz and Guildenstern have been ordered by Claudius to go. That they ""must sweep my way"" means that they must prepare the way for Hamlet, and the way they ""sweep"" is to ""marshal [him] to knavery"": conduct him to some kind of trick, villainy, or trap. The word ""marshal"" here begins a string of military metaphors: Hamlet sees his contest of wits with Rosencrantz and Guildenstern in"
"cannot help solve tests or help in final adjudication. In the end, river.’” (Damen, 21). In Virginia Woolf's novel ""Orlando"", the protagonist considers ""drinking forgetfulness"" from a meadow pool. In K. Madill's debut novel 'The Stolen Herd' Lethe is a naiad who lives in a lake at the Gates to the Underworld. In William Shakespeare's play ""Julius Caesar"", Antony, on seeing the murderers' hands red with Caesar's blood, observes: ""Here didst thou fall; and here thy hunters stand,/Sign'd in thy spoil, and crimson'd in thy Lethe"" (III.i.215). In William Shakespeare's play ""Hamlet"", Hamlet's father's Ghost says to the prince, In"
"wise and cautious during the days of his adversity"". Events in the life of Sir Edmund Mortimer, uncle of Edmund Mortimer, 5th Earl of March, were dramatized by Shakespeare in ""Henry IV, Part 1"". In the play Shakespeare accurately identifies Sir Edmund Mortimer as Hotspur's brother-in-law, but simultaneously conflates him with his nephew by referring to him as 'Earl of March'. The Southampton Plot is dramatized in Shakespeare's play ""Henry V"" (Act II Scene II). But its intent is misstated, and Mortimer's role in exposing it and condemning the plotters is completely omitted. Edmund Mortimer also appears in ""Henry VI,"
"between Laertes and Prince Hamlet to elaborate the differences between the two men. In Act V Scene 2, Prince Hamlet tells Laertes that he will fence with him and states, ""I'll be your foil, Laertes"" (5.2.272). This word play reveals the foil between Hamlet and Laertes, that was developed throughout the play. In the ""Harry Potter"" series, Draco Malfoy can be seen as a foil to the Harry Potter character; Professor Snape enables both characters ""to experience the essential adventures of self-determination"" but they make different choices; Harry chooses to oppose Lord Voldemort and the Death Eaters, whereas Draco eventually"
"""I implore you, O my brother!""). Hamlet overhears and fears Claudius' remorse could yet save his soul. He therefore delays yet again, deciding that Claudius must be dispatched in drunken revels at the court. The King rises. Thinking he has seen a ghost, he calls out for Polonius. Polonius comes rushing in. The King tells him he has seen the ghost of the dead king. Polonius tries to calm the King and warns him to beware lest a word betray them both. The King rushes out followed by Polonius. Hamlet emerges from behind the tapestry (Hamlet: ""Polonius est son complice!"
"humans and animals before becoming the Learned Pig. He recalls his previous incarnations. After Romulus he became Brutus, and then entered several human and animal bodies. Adapting the Shakespeare theme, the pamphlet states that he became a man called ""Pimping Billy"", who worked as a horse-holder at a playhouse with Shakespeare and was the real author of his plays. He then became a famous British aristocrat and general — identified only by asterisks — before entering the body of a pig. Puns on the name ""Bacon"", referring to the philosopher Francis Bacon, also appeared in the literature. In the poem"